Witness-1985

Director Peter Weir

Starring Harrison Ford

Scott’s Review #754

Reviewed May 7, 2018

Grade: A-

Witness (1985) is a slick crime thriller that may, at first glance, seem like a by-the-numbers genre film, but it is well above average.

As the plot unfolds, there are key nail-biting, edge-of-your-seat scenes that build tension in a way that the suspense master himself, Alfred Hitchcock, would be proud of.

Decades later, it is tough to watch the film without noticing a slightly dated quality, but at the time, it was well regarded and terrifically paced.

Charismatic Harrison Ford and novice child actor Lukas Haas make the film more than it could have been.

The film’s setting is twofold, presenting two distinct cultures: rural Pennsylvania’s Amish country and bustling metropolitan Philadelphia.

The death of her husband leads Amish woman Rachel (Kelly McGillis) and her son Samuel (Haas) to the big city to see her sister. While transferring trains, Samuel witnesses a brutal murder in the men’s room- unbeknownst to the killers.

This riveting scene (explained in more detail below) sets the rest of the story in motion.

When Detective John Book (Ford) is assigned to the case and questions Samuel, he can’t identify the assailants. After Samuel’s fingers, an unthinkable suspect, events escalate, and John uncovers a mighty corruption circuit within the police force.

Now targeted, John must assimilate into Amish culture as he tries to protect both Samuel and Rachel (and keep himself alive) while starting a relationship with Rachel.

The story wisely focuses on the principal characters’ differing lifestyles.

What I enjoy most about Witness is the mix of people from different cultures and how they can learn from one another. John is so used to and desensitized by the rat race that he often forgets the nicer things in life, peace, or even love.

Rachel and Samuel, of course, are highly sheltered, living in a bubble, and are fish out of water amid the bustling streets of Philadelphia. The counter-cultures offer a nice balance to this masculine film, bringing female sensibilities.

Not to be usurped by pure romance, Witness is, at its core, a fleshy, male-driven crime thriller. Adding softer edges, Weir pleases both male and female audiences and appeals to the masses.

John’s precinct, filled with detectives, police officers, and criminals, gives the film the right “guy elements.”

So director Peter Weir offers a good balance here.

I like how Weir portrays the Amish, not as caricatures, stereotypes, or something to be made fun of; they are sweet, stoic, and intelligent, and they accept John into their lives.

As John learns more about Amish culture and becomes one of them, this immersion in a different culture becomes even more prevalent, a good lesson to apply to other differences between people.

The acting is a strong component of Witness.

Charismatic and handsome, Ford is believable as a fast-paced, busy detective.

To add further substance, Ford transforms his character (often written as one-note in typical films of this nature) into a sympathetic and inspiring man as he slowly becomes a father figure to the wide-eyed youngster Samuel and falls in love with Rachel.

Ford is the standout, but the film would not work with fewer supporting actors.

Both innocent and gentle, McGillis and Haas add layers to their roles with pronounced toughness and resilience, saving John as much as he saves them.

Two scenes stand out and successfully build tension and dramatic effect.

As Samuel witnesses the murder in the bathroom, he is seen in a stall, peeking through a crack with only one eye exposed. When he makes a slight noise, the assailant violently goes through each stall, intent on shooting whatever he finds.

Samuel must think quickly to avoid being caught. The camera goes back and forth between Samuel’s looks of panic and the assailant getting closer and closer to catching him.

The viewer’s heart will pound during this scene.

Later, as Samuel sees a newspaper clipping framed among a case of awards, he recognizes the assailant. Weir shoots it in slow motion so John and Samuel’s reactions are palpable and effective.

The scene is tremendously done and cements the bond and trust between these characters.

Thanks to a wonderful performance by Ford and the cast surrounding him, Witness (1985) successfully widens the traditionally one-dimensional masculine crime thriller into something deeper.

With slick entertainment, a great story, and substance, the film crosses genres and offers a substantial cinematic experience the mid-1980s sorely needed.

Oscar Nominations: 2 wins-Best Picture, Best Director-Peter Weir, Best Actor-Harrison Ford, Best Screenplay Written Directly for the Screen (won), Best Original Score, Best Art Direction, Best Cinematography, Best Film Editing (won)

Golden Globe Nominations: Best Picture- Drama, Best Director-Peter Weir, Best Actor-Drama-Harrison Ford, Best Supporting Actress-Kelly McGillis, Best Screenplay, Best Original Score